Watched – June 2016

Cosa avete fatto a Solange? (1972).
Soylent Green (1973).
Addio zio Tom (136 minutes version, 1971).
Addio zio Tom (123 minutes version, 1971).
Arsenic and Old Lace (1944).
Игла (1988).
Città violenta (1970).
C.R.A.Z.Y. (2005).
Appropriate Behavior (2014).
Pride (2014).
Butter on the Latch (2013).
Wadjda (2012).
Passage à l’acte (1993).
Alone. Life Wastes Andy Hardy (1998).
Outer Space (1999).
Instructions for a Light & Sound Machine (2005).
Michael Kohlhaas (2013).
Lifeforce (1985).
Barefoot (2014).
The Three Musketeers (1948).
Go (1999).
Stage Beauty (2004).
The Nice Guys (2016).
En kort en lang (2001).
October Gale (2014).
The Doom Generation (1995).
Sei donne per l’assassino (1964).
The Hitcher (1986).
The Killing of a Chinese Bookie (1976).
Winter’s Bone (2010).
The Raspberry Reich (2004).
Two Moon Junction (1988).
Green Room (2015).
The Conjuring (2013).
Sinister (2012).
Television Delivers People (1973).
Oculus (2013).
Bloodsucking Bastards (2015).
Get Real (1998).

Poison (1991)

Poison

Poison (1991), Todd Haynes.

I think that Poison was the first film I watched by Todd Haynes, many years ago. I’ve seen all his films and I like all of them, but Poison and Velvet Goldmine hold a special place in my heart (Velvet Goldmine is probably on my top 10 favourite films of all times).

Psycho 60/98

WARNING: This film contains flashing images.

“Psycho” (1960) by Alfred Hitchcock and “Psycho” (1998) by Gus Van Sant collide in a frame-by-frame editing that assaults the eyeballs and assassinates the normative consciousness of the viewer. The footage seem to penetrate us, as though it was a knife or a threatening phantasmagorical entity. The fast succession of single frames and extremely short audio files produce afterimages and aftersounds—entoptic and endaural phenomena—creating a film that does not happen on the screen, but in our brain cells.

*Just a technical note for those interested on how things are made, this film consist just of both shower scenes fragmented in frames; the odd frames are the shower scene from the Hitchcock movie and the even frames are the shower scene from the Van Sant remake. No image or sound effects of any kind, just the frames. Sense-destructive cinema, enjoy! :)

It takes two people to make a murderer

“‘No man,’ said Birkin, ‘cuts another man’s throat unless he wants to cut it, and unless the other man wants it cut. This is a complete truth. It takes two people to make a murderer: a murder and a murderee. And a murderee is a man who is murderable. And a man who is murderable is a man who in a profound if hidden lust desires to be murdered.'”

Women in Love, D. H. Lawrence.

Powerless to do anything

I have suffered from sleep paralysis several times, and it’s a really scary thing that I’ve never knew how to explain, but this is a very good explanation:

“At first, you can’t move. It feels like you’re waking up, except your arms and legs and head and tongue are all frozen in place. You want to cry for help, but you can’t. You’re betrayed by your body, paralyzed. You lie there as your breathing begins to quicken, your heart rate jolting, until you see it: a shadowy figure in the room, moving closer. Maybe it’s a man in a dark cloak. Or maybe it’s an old woman, grotesque and witchlike. Either way, there is something sinister—and you are there, in your bed, powerless to do anything.

This real-life horror is known as sleep paralysis: a half-dreaming, half-wakeful state that leaves your body immobilized while you encounter nightmarish visions of terror. By some estimates, it affects about 6 percent of the general population, many of whom are left without an explanation for what happened to them. Was it a dream? Was it reality? Was it supernatural—and will it happen again?”

“Rodney Ascher’s New Doc ‘The Nightmare’ Reveals the Real-Life Horror of Sleep Paralysis”, Arielle Pardes, Vice.

I’ve had several experiences of this kind, mostly related to the type of sinister figures described in the article, but I remember specially one occasion in which the hallucination was auditory, not visual.

The Sound Screen: Derivas, espectros

Cuando terminé de hacer el remix The Sound Screen #003, el dedicado al sonido óptico, tenía pensando hacer el siguiente sobre el tema del espectro, o más concretamente del onryō. El onryō (怨霊) es un tipo de espíritu de la mitología japonesa que vuelve al mundo físico en busca de venganza. Normalmente, los onryō son mujeres que vuelven de entre los muertos para vengarse de algún hombre. Las dos películas que tengo pensado utilizar para hacer este remix son Kuroneko (藪の中の黒猫, 1968) y Ugetsu monogatari (雨月物語, 1953).

El concepto de este remix tiene que ver con el tema de la hauntología, que me fascina, tanto a nivel literal como metafórico, pero la idea surgió principalmente porque en Kuroneko hay algunos momentos sonoros muy inquietantes. No obstante, como derivo mucho y me cuesta concentrarme, hace unos días dejé este remix a medias y me puse a hacer otro con Only God Forgives (2013). El caso es que después de unos días dándole vueltas, terminé con algo que me gustaba formalmente, pero no conceptualmente, así que decidí darle un descanso.

Un poco sin querer, empecé un tercer remix con Queen of the Damned, y creo que va a ser este el que termine antes porque me estoy divirtiendo mucho.

Ahora mismo escribiendo este post me estoy dando cuenta de que, casualmente, los tres remixes que tengo a medias son sobre temas hauntológicos y oscuros: espectros, muerte, demonios, vampiros… Igual el día ideal para colgar el que termine antes es Halloween.

A tomb for some booby

“As for the Pyramids, there is nothing to wonder at in them so much as the fact that so many men could be found degraded enough to spend their lives constructing a tomb for some booby, whom it would have been wiser and manlier to have drowned in the Nile, and then given his body to the dogs. … it is much the same all the world over, wheter the building be an Egyptian temple or the United States Bank.”

Walden, Henry David Thoreau.

Seconds (1966)


When a film starts like this, it must be good (Saul Bass, of course). A paranoia, a dystopian history about who we are and who we would like to be. And, like all good science fiction films, with a lot of reflections between the lines.